Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts / Rolando Pérez.

Format:

Book

Author/Creator:

Přez, Rolando, Author.

Series:

Purdue studies in Romance literatures

Language:

English

Subjects (All):

Art and literature.

Physical Description:

1 online resource (332 p.)

Edition:

1st ed.

Place of Publication:

West Lafayette, IN, USA : Purdue University Press, 2012.

Language Note:

English

Summary:

Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco, " and La simulación-from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.

Contents:

Intro

Title

Copyright

Dedication

Contents

List of Illustrations

Acknowledgments

Introduction

Chapter One: Sarduy as Critic of the Baroque and the Neo-Baroque Figure in Science and Art

Figures of Scientific Rhetoric

Figure I: The Perfect, Moral Circle of the High Renaissance

Figure II: The Ellipse, or the Unnatural, "Perverted" Circle

Figure III: Trompe l'Œil and the Anamorphic Image

Figure IV: The Aberrant Image of Simulation

Figure V: The Neo-Mannerism of the Spanish, Colonial, and Neo-Baroque Image

"Conclusion" by Way of the Retombée

Chapter Two: Sarduy's Figural Art/Writing: Writing/Art Body

The Architectural Body

The Painterly Body: Bronzino, Rubens, and Beyond

Biological Anamorphosis, Trompe l'Œil, and Body Painting

The Colonial and Monstrous Body

Fetishism and the Body That Is Double . . . and More Than Double

Fijeza, Yin-Yang, and the Inscribed Body of Sadomasochism

The Eastern White Body of "Emptiness"

Chapter Three: Big Bang, Klang Klang, and Painting

The Pictorial/Rhetorical Figure of the Universe (Barroco and Big Bang)

White: Red and Black

From Mallarmé's Typography to Concrete Poetry and Galáxias

The New World Baroque Aesthetics of Big Bang

The Music in Painting/Writing: Lorca, Jazz, Mondrian, Kandinsky, Etc.

The Figural Body of the Dance of Life and Death

Conclusion

Chapter Four: Colors, Bodies, Voices, and the Click-Clack of Theater

The Four Primary Colors

White, Black, and Red

The Erotic Body

Sound and Music

Funerary Baroque

Del Yin al Yang

Decolonization: The Circle of Los matadores de hormigas

Conclusions &lt

&gt

Continuities

Illustrations

Notes

Bibliography

Index.

Notes:

Bibliographic Level Mode of Issuance: Monograph

ISBN:

9786613532381

9781612491486

1612491480

9781280128509

128012850X

9781612491493

1612491499

OCLC:

794488907